New show just might be Sliced, Crumpled, Shredded, Folded, and Scored photographs.
The only problem I’m having is why.
Initially this process of manipulations was about the willful destruction of a photograph. This is something that feels a little sacrilegious to me and I’m sure to others. Despite the nature of the digital image the physical photograph has an inherent value to me. Not just because I sell photographs, but also because of the history of the image itself and the memories it holds. One of the reasons I’m doing this is that it feels slightly wrong and that in itself feels strangely right. I’m destroying memory, or at least reconfiguring it.
This process is also about rebirth and redefinition. By taking an existing thing I’ve done and re-inventing it I’m creating something new out of something old. Without the pretentiousness or the mythology–this is sort of like the story of the Phoenix.
Repetition is soothing. I like endlessly cutting things into strips or shredding things. I like doing this manually when I could very easily use a machine or do the manipulation in Photoshop. There’s something deliberately archaic and anachronistic about the process. These are physical objects.
I’m also thinking of making these as 1 of 1s. The physical objects/subjects are 1 of 1s. Those physical objects are also sculptures. So I’m using photography to record a temporal sculpture. The photographs are reminders of what was created. I was going to mount each of the sliced pieces, but the more I think about it the more I like the idea of them being fleeting. I may just pile all the strips in bags.
These photographs are also paradoxical. I’m re-arranging or reconfiguring memory by manipulating the original photographs and creating temporary sculptural pieces but I’m also recording those manipulated pieces of the past in new photographs. I think that explanation will have to be re-worded to make any sense. Hopefully when I re-read this I can figure it out enough to re-write.
The aesthetic I’m very happy with–the what and the how. The more I write, the more I answer the why somewhat but maybe not enough to balance out the power of the aesthetic creation in my own head. I keep thinking that this work somewhat arbitrary when the images I’m using have a personal history but not a relationship to the process of manipulation. It’s half-baked. Without being cliche, perhaps there’s subject matter that I can specifically shoot then manipulate that will tie the aesthetic and the why together better. In a basic sense, clocks, or calendars might work. Something that represents the passage of time or the temporal. I’ve also thought of doing this with clouds. I like how the natural, or pseudo natural works in this process, better than how the architectural or man made does.
Now, can I figure it out so it works completely in my head?